c  :> 


WALLA  WALLA  •  WASHINGTON 


A  PAGEANT 


By  PORTER  GARNETT 


FRI PAVWATURPAYMAY  22-23, 1914 


THE  REVI 


Pfi 


•1-  OF  MA\ 


UNDER  THE  AUSPICES  OF 

THE  WOMAN'S  PARK  CLUB 

PRICE    25   CENTS 


A  PAGEANT   OF   MAY 


I.     THE  MASQUE  OF  PROSERPINE 
II.     THE  REVELS  OF  MAY 

By 
Porter  Garnett 


Produced  by  the  Author  in  City  Park,   Walla  Walla, 

Washington,  Friday  and  Saturday, 

May  22  and  23,  1914 


Under  the  Auspices  of 

THE  WOMAN'S  PARK  CLUB 

Walla  Walla,  Washington 

1914 


Copyright  1<?14  by 

PORTER   GARNETT 

All  rights  reserved 


WALLA  WALLA   UNION 
WALLA  WALLA 


TO    THE    WOMEN    OF 

THE  WOMAN'S  PARK  CLUB 

WHOSE 
CIVIC  PRIDE 

AND 
CONSTRUCTIVE  IDEALISM 

HAVE    ENABLED    THEM 
TO  DARE   AND  TO   ACHIEVE 


FOREWORD 

The  history  of  "A  Pageant  of  May"  is  briefly  told. 
In  November,  1913,  the  Woman's  Park  Club,  which, 
in   1911,   inaugurated   an  annual   May  Festival,  conceived 
the  idea  of  holding  a  pageant  in  our  city. 

Correspondence  with  the  American  Pageant  Association 
led  to  the  inviting  of  Mr.  Porter  Garnett  of  Berkeley, 
California  (one  of  the  directors  of  the  association),  to  come 
to  Walla  Walla  for  a  conference.  Mr.  Garnett  arrived 
on  March  26th.  On  the  30th,  having  in  the  meantime 
selected  City  Park  as  the  most  suitable  site,  he  submitted 
the  outline  of  "A  Pageant  of  May."  It  was  officially 
approved  on  March  31st,  and  the  work  of  preparation  was 
begun. 

Since  the  construction  of  a  pageant  is  usually  a  matter 
of  many  months  it  seems  proper,  in  this  case,  to  call  attention 
to  the  fact  that  within  a  period  of  seven  weeks  Mr.  Garnett 
has  written  the  text  of  "A  Pageant  of  May,"  designed  the 
costumes  and  properties,  invented  the  dances,  selected  the 
music  and  rehearsed  a  cast  of  over  three  hundred. 

Grateful  acknowledgment  is  made  of  the  assistance  of 
the  Commercial  Club  and  of  the  many  citizens  of  Walla 
Walla  who  have  given  so  generously  of  their  time  and 
talent,  insuring  the  success  of  the  "introduction  of  pagean- 
try in  the  Northwest." 

GRACE  G.  ISAACS 
MABEL  BAKER  ANDERSON, 
LYDIA  P.  SUTHERLAND 
MARY  SHIPMAN  PENROSE 
MARIE  A.  CATRON 

Executive  Cominittee  for  the  Pageant, 
Woman's  Park  Club. 


[iv] 


INTRODUCTION 

Although  May  festivals  are  held  in  almost  every  com- 
munity, it  is  in  the  agricultural  comrrlunity,  such  as  this 
of  Walla  Walla  with  its  vicinage  of  fertile  acres,  that  the 
celebration  of  spring — the  season  of  renewal— is  most  ap- 
propriate. 

A  Pageant  of  May  is  a  May  festival  and  something 
more.  In  it,  instead  of  restricting  the  ceremonies  of  the  more 
or  less  hacknied  forms,  an  effort  has  been  made  to  utilize 
the  traditional  material  and  to  import  into  it  certain  elements 
of  freshness  and  fancy. 

The  intention  has  been  not  so  much  to  give  an  exhibi- 
tion as  to  afford  the  community  an  opportunity  for  self-ex- 
pression. The  real  purpose  of  the  pageant  is  to  remind  the 
people  of  Walla  Walla  that  since  they  owe  their  existence 
to  the  soil,  spring  should  be  for  them  a  season  of  sin- 
cere and  spontaneous  rejoicing.  It  should  not  be  necessary 
to  cajole  them  into  celebrating  this  season  which  brings  in 
bud  and  blossom  an  earnest  of  the  harvest  to  come.  They 
should  not  only  be  willing  but  eager  to  make  merry  on  the 
Green  and  to  dance  around  the  May-poles.  They  should 
remember  that  the  earth  which  gives  them  sustenance  is 
not  their  servant  but  their  mistress  and  that  without  her 
generous  gifts  they  would  be  poor  indeed.  A  Pageant  of 
May  offers  them  an  opportunity  to  pay  their  homage  to 
Earth  the  Giver  whom  the  Greeks  personified  and  wor- 
shipped as  the  goddess  Demeter  (Ceres). 

In  the  Masque  of  Proserpine,  which  forms  the  first  part 
of  the  pageant,  the  return  of  spring  is  treated  symbolically. 
The  myth  upon  which  the  masque  is  built  has,  on  account 
of  its  peculiar  appropriateness,  been  used  at  various  times 
and  in  various  ways  to  celebrate  the  season  of  rebirth,  but 
the  present  adaptation  with  its  free  use  of.  comedy  is  entirely 
original.  It  has  been  necessary,  of  course,  to  take  many 
liberties  with  the  accepted  versions,  notably  the  excision  of 
that  part  of  the  myth  which  deals  with  Ceres'  wanderings 

[v] 


in  search  of  Proserpine.  Those  who  may  be  desirous  of 
reading  the  myth  in  its  most  charming  form  are  referred 
to  the  translation  of  an  Homeric  hymn  which  Walter  Pater 
incorporated  in  his  essay,  Demeter  and  Persephone,  con- 
tained in  his  volume  The  Greek  Spirit. 

The  second  part  of  the  pageant  is  based  upon  the  tra- 
ditional English  May  Day  celebrations.  The  traditions, 
however,  are  by  no  means  strictly  followed  for  there  seems 
to  be  no  justification  for  a  rigid  adherence  in  America  to  cus- 
tomes  which  are  essentially  English.  I  have  used  Robin 
Hood  and  his  Merrie  Men  because,  through  literature,  they 
have  been  made  the  heritage  of  all  English-speaking  people ; 
I  have,  however,  omitted  the  Morris-dance  because,  in 
America,  it  has  no  significance  whatever. 

Since  it  is  hoped  that  the  pageant  will  be  interpreted 
throughout  in  .a  spirit  of  gaiety;  since  the  participants  will 
be  expected  to  forget  (as  far  as  possible)  that  there  are  any 
spectators,  the  spontaneity  which  is  difficult  to  attain  rather 
than  the  expertness  which  is  comparatively  easy  will  be 
looked  for  in  the  May-pole  and  other  dances.  To  Mrs.  E.  R. 
Ormsbee's  able  direction  is  due  whatever  measure  of  success 
may  de  achieved  in  this  regard.  The  Dance  of  the  Seeds 
and  the  Dance  of  the  Fruits  and  Flowers  owe  the  charm  of 
their  form  and  detail  to  the  inventive  fancy  and  skill  of 
Miss  Rachel  Drum. 

In  both  the  Masque  and  the  Revels  realism  has  been 
scrupulously  avoided  because  in  the  author's  opinion  realism 
on  the  sltage  is  inartistic  and  futile.  There  is  no  reason 
why  a  pageant — whether  of  the  historical  or  festival  type — 
should  not  be  consistently  expressed  in  terms  of  beauty. 

To  this  end  the  masque  feature  has  been  employed  as 
affording  the  best  possible  means  by  which  the  note  of  beauty 
may  be  introduced.  I  believe  that  the  introduction  of  the 
masque  feature  in  all  pageants,  by  increasing  the  gap 
which  already  exists  between  formal  and  creative  page- 
antry and  the  familiar  tawdriness  of  the  street-fair  and 
carnival,  would  do  more  to  raise  the  standard  of  pageantry 
than  any  other  single  thing. 

The  text  of  A  Pageant  of  May  has  been  reduced  to 
the  simplest  possible  terms.  It  contains  no  more  lines  than 
were  necessary  to  unfold  the  plot  and  deliver  the  message. 
The  lines,  moreover,  have  been  uniformly  written  with  the 
fact  in  view  that  they  were  to  be  delivered  and  delivered  in 
the  open  air.  Syllables  that  open  the  mouth  have  been 


[vi] 


more  important  therefore  than  poetic  embellishments. 
As  far  as  possible  pantomine  has  been  used  to  reveal  the 
story.  A  Pageant  of  May  is  not  intended  for  closet  reading, 
and  if  the  reader  who  did  not  see  its  realizement  in  action 
on  the  four-acre  stage  in  Walla  Walla's  city  park  finds 
it  somewhat  jejune  he  is  asked  to  bear  that  fact  in  mind. 
I  cannot  leave  unexpressed  my  grateful  acknowledge- 
ments to  the  members  of  the  Costume  Committee  who  have 
worked  most  efficiently  under  the  direction  of  Mrs.  A.  J. 
Gillis,  the  designing  of  the  children's  costumes  being  admir- 
ably done  by  Miss  Helen  Burr  and  Mrs.  W.  E.  Most. 
To  the  chairmen  and  members  of  the  other  committees,  and 
to  the  organizers  and  chaperones  of  the  various  groups  I 
am  indebted  for  the  invaluable  assistance  which  they 
have  rendered.  Finally,  I  would  take  this  opportunity  to 
express  my  gratitude  to  the  women  of  the  Executive  Com- 
mittee who,  putting  aside  every  consideration  of  personal 
convenience,  have  labored  indefatigably  for  the  success  of  the 
pageant  and  the  benefit  of  the  community. 

P.  G. 

Walla  Walla,  Washington. 
May  14,  1914. 


[vii] 


PLAN  OF  THE  Music 

1.  PRELUDE.     "An  den  Fruejing"   (Grieg). 

2.  INCIDENTAL.  '  Adagietto  from  "L'Arlesienne"  (Bizet). 

3.  DANCE  OF  THE  COMPANIONS  OF  PROSERPINE.     Valse 

Lente  from   "Coppelia"    (Delibes). 

4.  DANCE   OF   THE   SEEDS.     Norwegian   Dance,   No.   3 

(Grieg). 

5.  SOLO.     "The    Song   of    Proserpine."       (Proserpine). 

Specially  composed   by   Elias   Blum. 

6.  MARCH  OF  THE  GODS  OF  OLYMPUS.     "Festival  Pro- 

cession"   (Jensen). 

7.  HYMN  OF  JOY.      (Companions  of  Proserpine).  Chorus 

from  "Demascus,"    (Costa). 

8.  SOLO  AND  CHORUS.      (Proserpine  and  Companions). 

Same  as   No.   5. 

9.  DANCE  OF  THE  FRUITS  AND  FLOWERS.     "Amaryllis" 

(Old  French). 

10.  MARCH  OF  THE  GODS  OF  OLYMPUS.     (Recessional). 

Same  as  No.  6. 

11.  INTERLUDE.     Berceuse    (Karganoff). 

12.  CHORUS.       (Villagers).       Unaccompanied.       "March 

and  Song  of  the  May  Queen"   (West). 

13.  CHORUS.     (Villagers).     "Give    to    our    Layde,    Our 

Ladye  of  May"    (West). 

14.  DANCE  OF  THE  VILLAGERS.     (Selected). 

15.  SOLO    AND    CHORUS.      (Robin    Hood    and    Archers). 

"Ballad   of   Robin    Hood"    (West). 

16.  DANCE  OF  THE  MILKMAIDS  AND  ARCHERS.     Rigau- 

don   from    Holberg  Suite    (Grieg). 

17.  MARCH    OF    THE    MAY- POLES.     "Swedish    Wedding 

March"    (Soedeman). 

18.  MAY- POLE    DANCE    and    DANCE    OF    THE    LOVERS. 

"Bluff  King  Hal." 

The  Walla  Walla  Symphony  Orchestra 
Edgar  Fischer,  Conductor 


[  viii  ] 


PERSONS  IN  THE  MASQUE 

QUEEN  OF  THE  MAY  Miss  Hazel  Holt 

MERCURY  Mr.  H.  H.  Turner 

MAIA  Mrs.  E.  S.  Isaacs 

PROSERPINE  Miss  Zilla  Simpson 

PLUTO  Mr.  William  Metz 
CERES                                                                     Miss  Eula  Grandberry 

JUPITER  Mr.  Elmer  Storie 

THE    HOSTS    OF    OLYMPUS 

JUNO  Miss  Ruth  Kent 

MINERVA  Miss   Clara  Quinn 

APOLLO  Mr.  Harry  McGrun 

DIANA  Mrs.  Porter  Garnett 

VENUS  Mrs.   Art  Harris 
CUPID                                                   Master  Stephen  Penrose,  Jr. 

NEPTUNE  Mr.  W.  D.  Lyra  an 

MARS  Mr.  William  Sterling 

VULCAN  Mr.  L.  F.  Anderson 

Companions  of  Proserpine,  Seeds,  Gods  and  Goddesses, 
Fruits,  Grains,  Flowers. 

PERSONS  IN  THE  REVELS 

LORD  OF  THE  MAY  Mr.  Cushing  Baker 

A  HERALD  Mr.  Joseph  Taylor 

THE  MAYOR  Mr.  A.  J.  Gillii 

SHERWOOD     FORESTERS 

ROBIN  HOOD  Mr.  Guy  Allen  Turner 

MAID  MARIAN  Mrs.  Dallas  Garred 

WILL  SCARLET  Mr.  Robert  Norton 

LITTLE  JOHN  Mr.  William  A.  Reynolds 

FRIAR  TUCK  Mr.  Starr  Sherman 

ALLEN  A  DALE  Mk^' Douglas  Martin 

CALLER  OF  THE  DANCE                                      Mr^  J.  L.  Barrett 

THE  PIG  *                                                          Himself 

Villagers,    Milkmaids,    Archers,   Athletes,    Mayers. 

.',-  •  «• 

[ix] 


GROUPS 


COMPANIONS   OF   PROSERPINE 


Jessie  Kellough 

Mary  Walker 

Phoebe   Blalock 

Irene   Gross 

Helen  Harvey 

Thelma  Lasater 

Blanche  Mitchell 

Maud  Baumann 

Helen  Odell 

Mary  Gordon 

Jessie  Baltezore 

Esther  Eiffert 

Dorothea  Starrett 

Edna  Cornwell 

Eleanor  Sweeney 

Margaret  Pettijohn 

Doris  Root 

Camilla    Dunlap 

Vera  Root 

Priscilla  Taylor 

Grace  Spanagle 

Aura   Ely 

Jennie  Kelly 

Velma    Roth  rock 

Myrtle  Bond 

Altai  Bashore 

Maysie  Penrose 

Nora   Frasier 

Frances  Penrose 

Goldie  Boylan 

Amy  Brown 

Elsie  Lane 

Marion  Hackett 

Carilyn  Churchman 

Gladys  Storer 

Myrtle   Falk 

Jean  Jay  cox 

Claudia  Lewis 

Artemesia  Cornwell 

Lillian   Pierce 

Esther  MacDonald 

Gladys  Reavis 

Hazel  Toye 

Edith    Smith 

Marion  Drumheller 

May  Stack 

Bessie  Brooks 

Delia  Fertig 

GODS    AND 

GODDESSES 

Gertrude  Brandt 

Earl  Kennedy 

Gertrude  Goodspeed 

Homer  Shull 

Cornelia  Ingram 

Cecil  Jones 

Edna    Hill 

Stanley    Sayres 

Florence  Lilliequist 

Lloyd   Hazelton 

Jessie  Cunningham 

Clarence  Churchman 

Gisla   Elliott 

Valentine  Hoffman 

Marguerite  Whitney 

William  Berney 

Clara  Timm 

Edison  Botts 

Ida  Timm 

Porter    Garnett 

SEEDS,  FRUITS,  FLOWERS  and  GRAINS 

ST.  VINCENT'S  ACADEMY 


Lillie   Martin 
Maxine  Riley 
Lelah  Byrne 
Mary  Smith 
Helen  Davis 


Anna  Lyons 
Clare  O'Rourke 
Minnie  Perry 
Adele  Charrier 
Mary  Lux 


[x] 


GREEN  PARK  SCHOOL 


Murray  Ifft 
John  Langdon 
Beryl   Cox 
Amos  Spencer 
Albert  Mayfield 
Dale  Simpson 
Louis   Crawford 
Ward  Miller 
Ronald  Bangs 
Tom  Drumheller 


Jack  McFeeley 
Bernard  Lehrer 
Wallace   Kelso 
Edwin  Beyer 
Harry   Johnson 
Lee  McMurtrey 
John  Clingan 
Joseph  Bond 
Horton  Bennett 
Albert   Buffum 


Burton  Johnson 
Byron   Blatt 
Carl   Connell 
Robert   Britton 
Robert  Bean 


Perry   Lyons 
Jacob   Riehl 
Edwin    Dormaier 
Paul   Reed 
George  Miller 


Dolly  VanPatten 
Marjorie   Sauze 
Dollie  Katzer 
Frances  Johnson 
Dorothy  Simpson 
Dorothy  Krushnie 
Gwendolyn   Abbey 
Geneva  Watt 
Gertrude  Hill 
May  Mills 

SHARPSTEIN  SCHOOL 

Beatrice  Wilbur 
Pauline    Quinn 
Sibyl    Malcolm 
Audrey  Harvey 
Vivian   Hill 
Ireta  Good 
Virginia   Funk 
Eleanor  Ely 
Gwendolyn   McMahon 
Jessie  Lasater 


BAKER  SCHOOL 


Ruby  Parris 
Dorothy  Moore 
Ida  Rosen 
Lucile   Durman 
Hattie  Gatchell 


LINCOLN  SCHOOL 


Harvey  Stoller 
Norman    Stademaler 
Roy  Fraser 
Irwin   Gootwig 
George  Brehm 


Harold   Majojnnier 
Herbert  Waddingham 
Gus  Harris 
Gerald    Meckleson 
Donald   Church 


WASHINGTON  SCHOOL 

Lucy   Stafford 
Nylene   Brown 
Jessie  Young 
Gevenneth  Jackson 
Geraldine    McEvoy 


Marion  Beardsley 
Lila  Sutherland 
Helen  Caten 
Julia  Ayers 
Lulu  Paul 
Margaret  Ryan 
Maud    Still 
Marie  Durry 
Edna  Lorton 


VILLAGERS 

Ella  Copeland 
June   Hume 
Emily  Abbott 
Ruth    D  arrow 
Florence  Wills 
Frances  Burnham 
Margaret  Paddock 
Floy  Ramsdell 
Lottie    Prendergast 


[xi] 


Anna  Fitzgerald 
Elizabeth    Fitzgerald 
Anna   Pauly 
Harriet  Ekersley 
Gertrude  Storer 
Lucile  Mclntyre 
L.  R.   Quilliam 
Harry  Paxton 
John  Paxton 
Clarence  Jones 
Ford  Dwyer 
Thomas  Steele 
Albert  Muntinga 
C.  M.  Ledgerwood 
Bruce  Painter 


R.   G.    Sturdivant 
George  Stack 
Carl  Hubley 
J.  E.  Heath 
R.   H.   Clark 
R.   E.  Stafford 
H.  R.  Jennings 
Albert  Loringer 
Henry  Filer 
Newton  Barrett 
Lyle  Henton 
Silas  Gaiser 
Paul    Gaiser 
Everett  Knipe 
W.  H.  Thomas 


ARCHERS 


E.   R.  Ruby 
Harold  Crampton 
Ralph  Emerson 
Harper  Joy 
John   Barnett 
Ben    Peterson 
Ralph  Harrison 
Earl    Smith 
Cecil  McKinney 
J.  K.  Pearce 
George  Clark 
Newman   Clark 
Bruce  Clingan 
Raymond    Copeland 
George  Sumerindyke 
Merton  McGrew 


Marcus  McCoy 
Glen  Bean 
Philip    Hawley 
Raleigh  Sargent 
Walter  Evans 
Charles   Emigh 
Everell   Catron 
Harold   Barnett 
William   Hooper 
Everett  Croxdale 
Selkirk   Norton 
Herbert  Kimball 
Virgil   Argo 
Harry  Magrun 
Paul   Kent 
Thomas  Romine 


MILKMAIDS 


Ethel  Cornwell 
May  Stanhope 
Doris   Morley 
Jessie   Drumheller 
Mary  Graham 
Marjorie  Bloyd 
Mary  O'Neil 


Marie    Rust 
Ethel   Larson 
Pauline    Muntinga 
Eleanor  Sickles 
Mamie   Stellmon 
Flossie  Dell 
Marie  Miller 


Margery  Wilkinson 


MAY-POLE 


Roy    Kinchloc 
Lester   Barrett 
Harold    Hayden 
Herman  Timms 
Robert  Pence 
Asa  Purdy 
Howard  Breacht 


CREWS 

Thomas  Kinnerman 
Lyle  Burdin 
Otto  Broxon 
George  Cram 
Phil  Huffman 
George  Pendler 
Ernest  Melton 


Arthur  Neisnauger 


[xii] 


A  PAGEANT  OF  MAY 

PART  I 

THE  MASQUE  OF  PROSERPINE 

SCENE— The  Village  Green.  The  flowers  are  in 
bloom,  and  the  trees,  of  which  there  are  many,  are  in 
full  leaf  for  it  is  the  month  of  May  and  spring  has  nursed 
the  leaves  from  their  tender  infancy  to  the  glory  of  vigorous 
youth.  The  trees  farthest  away  shut  in  the  Green,  but  permit, 
here  and  there,  a  glimpse  of  distant  mountains,  tinted  a  deeper 
blue  than  the  sfky  above  their  crests.  In  the  center  of 
the  Green  is  a  small  lake  crossed  by  a  causeway.  Near 
this  stands  a  canopied  dais,  covered  with  greens,  which 
had  been  erected  by  the  folk  of  the  village  in  anticipation 
of  the  May  Festival,  soon  to  take  place.  On  the  dais  are 
two  rustic  thrones  for  the  use  of  the  Queen  and  the  Lord 
of  the  May. 

Mush  is  heard.  When  this  has  continued  for  some, 
time,  a  maiden  enters  near  the  dais.  She  is  clad  in  the 
gala  dress  of  a  villager.  She  looks  about  with  evident 
pleasure.  As  she  approaches  the  dais,  she  claps  her  hands 
with  delight;  then,  mounting  it  fpryly,  she  sits  on  one 
of  the  thrones,  exhibiting  every  sign  of  joy.  Finally  she 
descends  and  walks  slowly  forward,  still  looking  about  her. 
As  the  music  ceases  she  speaks. 

QUEEN  OF  THE   MAY 

This  is  the  green, 

And  yonder  is  my  throne — 

My  throne,  whereon,  this  day, 

I'll    reign    as    queen — 

Queen  of  the  May! 

Yes,   I   alone 

Shall   rule,    for   I   am   queen — 

Queen  of  the  May! 

Queen  of  the  May! 

[13] 


A  PAGEANT  OF  MAY 


The  May-lord  by  my  side  shall  be, 

But  what   is  he? 

My  vassal  like  the  rest, 

Obedient  to  my  sway, 

Whatever   my   behest. 

I'll  have  a  royal  mien 

When   I  am  queen — 

Queen   of  the   May. 


They  chose  me  queen,  and  bade 
Me  don  my   Sunday  gown, 
And  sit  me  down 
And   wait 

Beside  my  garden  gate, 
Till   every   lad   and   maid 
Had  from  the  woods  returned, 
With  flowers  and  branches  green 
For  me,    their  queen. 

But  how  could  I  thus  bide 

And   patient   be  ? 

To  see   my  throne    I   yearned, 

The  Green  I  longed  to  see. 

And    so    I   stole    away 

And  hither  came.     They'll  chide 

I  know,  but  I  am  free 

To  have  my  will   today, 

For  I  am  Queen  of  May. 

How  slowly  creep  the  hours! 

The  good  sun  moves  how  slow! 

The  timid   flowers, 

By  Winter  chased  away, 

Have  heard  the  song  of  Spring, 

And  dare  once  more  to  blow. 

To  everyone  they  bring 

The   message   to   be   gay, 

For  Jt  is  the  month  of  May. 

The  birds  now  sweetly  sing; 

Heed   what   they  say — 

"  'T  is  May;  be  gay!  Be  gay;  't  is  May!" 

[14] 


THE    MASQUE    OF    PROSERPINE 


Last  night  I  slept  no  wink; 
I    could    do    naught    but    think 
Upon  the  happy  morrow, 
And   from   my   fancy   borrow 
That  which  I'll  ne'er  repay. 
The   morrow's   now   today, 
And  I  am  Queen  of  May. 

How  heavy  grow  my  eyes! 
I  fain  would  sleep. 
I'll  rest  me  here;  their  cries, 
Though    I    should    slumber   deep, 
Will  wake  me — If  some  dream 

Should  pass  this  way 

'Twill  be  a  happy  dream  today, 

For    this  ...  is    May 

I ....  am  ....  Queen  ...  .of  May 

She  falls  asleep.  MERCURY  darts  suddenly  into  view. 
He  wears  a  winged  cap,  and  wings  are  attached  to  his 
feet.  Over  his  short  white  tunic  he  wears  a  chlamys  of 
bright  blue,  fastened  with  a  clasp  on  the  shoulder.  In 
his  hand  he  carried  his  golden  caduceus  or  tuwid,  around 
which  are  coiled  two  serpents.  He  approaches  swiftly,  paus- 
ing now  and  then  to  look  about  as  if  to  make  sure  that 
he  is  alone.  Suddenly  seeing  the  sleeping  maiden  he  shows 
surprise.  He  then  approaches  her  on  tip-toe. 

MERCURY 

Ho,  ho!  What  have  me  here?  By  Jove! 
A  maiden   napping   in   my  grove. 
I  have  a  mind/  to  let  this  mortal  see 
A   first-class   god   called    Mercury. 

MERCURY  waves  his  caduceus  over  the  maiden  and  she 
slowly  wakes.  Seeing  MERCURY,  w ho  strikes  a  polite  at- 
titude with  his  hat  raised,  she  shows  astonishment. 

QUEEN  OF  THE  MAY 

Why,  who  or  what  are  you? 

MERCURY 

Who?    I? 
Why  I'm   the  god  called   Mercur-i. 

[15] 


A   PAGEANT  OF  MAY 


Another  rhyme  and  I  would  be 
Not    Mercur-i    but    Mercur-ee. 
See  you  these  wings  upon  my  feet? 
A  human  aeroplane  you  greet. 
And   this   is   my  caduce — caduce — 
Deuce  take  the  word! — caduce-eus! 
I'm  qualifying  for   Parnassus, 
This  Paris  model's  my  petasus. 
But  who  are  you,  may  I  inquire, 
And  why  this   festival  attire? 

QUEEN  OF  THE  MAY 

They   call   me   Hiazel,   but,   today, 
I  am  to  be  the  Queen  of  May. 

MERCURY 

Ha,  ha!     The  Queen  of  May, indeed! 
I'll  tell  you  something  odd — gtfve  heed! 
This  month  that  you  call  May  was  named 
For  my  mamma.     She's  rather  famed 
For  beauty,  too — just  like  her  son — 
I'll   introduce  you,   little  one. 
Her  name's   Maia,   M-a-i-a 
(Long  since  corrupted  into  "May"). 
She's   over  yonder  'mong  those  trees, 
Teaching  a  class  of  honey-bees. 
I'll  call  her.     Ho!     Come,  mother  dear, 
There's  someone  wants  to  meet  you  here. 

MAIA  appears  at  a  little  distance,  whence  she  ad- 
vances to  the  others.  She  wears  a  pale  blue  mantle  over 
a  white  robe.  She  is1  decked  wnth  garlands  and  her  fair 
hair  is  crowned  with  flowers. 

MERCURY 

(Taking  off  his  hat  and  bowing} 

Permit  me.     May  I  have  the  honor? 
This  is  my  mother.     Look  upon  her, 
Mortal  maid,  with  all  your  eyes, 
And  fail  not  your  good  luck  to  prize, 
For  I  will  lay  you  any  odds, 

[16] 


THE    MASQUE    OF    PROSERPINE 


You  ne'er  before  gazed  on  two  gods. 
And  mother,  may  I  now  present 
This  maiden  who  a  compliment 
To   you   is  paying  here,   today, 
By  reigning  as  the  Queen  of  May. 

MAIA 

My  child,   although   unwittingly  you  pay 
A  tribute  to  the  mother  of  the  May, 
Maia  grateful  is,   and  with  her  kiss 
Bestows  on  you  the  gift  of  earthly  bliss. 
Here,  take  this  blossom  from  Elysian  Fields, 
A  magic  potency  in  love  it  wields. 
For  he  to  whom  you  give  this  flower  shall  bless 
Your  life  with  faithful  love  and  happiness. 

PROSERPINE  suddenly  appears  on  the  farther  side  of 
the  lake.  She  is  clad  in  white  and  carries  a  green  scarf 
which  she  waves  as  if  beckoning  to  someone  to  follow  her. 

MERCURY 

I  say!    Look  there!    See  yonder  lass? 
That's  Proserpine;  ain't  she  the  class! 
She's  Ceres'  kid.     There's  not  a  chance 
To  skin  her  at  a  song  and  dance. 
Come,  sit  down  here;  its  nice  and  warm; 
Perhaps  she's  going  to  perform. 

The  QUEEN  OF  THE  MAY  and  MAIA  sit  down  on  the 
mound  and  MERCURY  stretches  himself  comfortably  on  the 
grass  beside  them.  A^JiQy.aus  b@nd  of  maidens  runs  into  view. 
They  are  clad  m  in  garments  of  various  delicate  colors,  and 
carry  scarfs  of  many  bright  hues  which  are  waved  about  or 
stream  after  them  as  they  run.  Following  the  maidens 
come  a  multitude  of  tiny  creatures  all  in  brown.  Their 
bodies  are  spherical  and  on  their  heads  they  have  caps  of 
the  same  form.  These  are  the  Seeds.  PROSERPINE,  fol- 
lowed by  her  companions  and  the  Seeds  now  troop  across 
the  causeway  over  the  lake.  Reaching  the  Green,  PROSER- 
PINE and  the  maidens  begin  picking  the  flowers  that  grow 
on  the  sward,  dancing  as  they  do  so  with  rhythmical  move- 
ments to  the  accompaniment  of  a  gracious  melody. 

[17] 


A   PAGEANT  OF   MAY 


THE  DANCE  OF  THE  COMPANIONS  OF  PROSERPINE 

In  her  search  for  blossoms  PROSERPINE  gradually  moves 
forward  and  away  from  the  others.  IThe  Seeds,  mean- 
whtie,  take  positions  along  the  rim  of  the  lake.  As  the 
dance  continues,  PROSERPINE'S  companions  move  farther  and 
farther  away  until  they  reach  the  causeway  again.  The 
music  now  takes  on  a  more  sprightly  character,  and  the 
Seeds,  running  forward,  dance  merrily  on  the  Green. 

THE  DANCE  OF  THE  SEEDS 

During  this  the  companions  of  PROSERPINE  are  seen 
to  move  aivay,  waving  their  many-colored  scarfs  and  finally 
disappearing  in  the  direction  whence  they  came.  PROSER- 
PINE, unaware  of  their  departure,  contiues  to  mave  about 
and  gather  flowers  from  the  grass.  The  Seeds,  having 
finished  their  dance,  take  their  positions  again  on  the  rim 
of  the  lake,  and  PROSERPINE,  pausing  with  her  arms  full 
of  flowers,  sings. 

PROSERPINE'S  SONG 

(Words   by    Shelley.     Music   specially    composed   by    Elias 
Blum,  Professor  of  Music,  Whitman  College). 

Sacred    Goddess,    Mother    Earth, 

Theu  from  whose  immortal  bosom, 

Gods,  and  men,  and  beasts  have  birth, 

Leaf    and    blade,    and    bud    and    blossom, 

Breathe   thine   influence   most   divine 

On  thine  -ewn  child,   Proserpine. 

If  with  mists  of  evening  dew 

Thou  dost  nourish   these  young  flowers 

Till   they  grow,  in  scent  and   hue, 
Fairest  children  of  the  hours, 

Breathe   thine   influence   most  divine 

On  thine  own  child,  Proserpine. 

When  PROSERPINE  ends  her  song,  she  begins  once  more 
to  move  about  and  gather  flowers.  Finally,  seeing  at  a 
little  distance  a  beautiful  narcissus,  she  runs  toward  it  and, 
stooping,  plucks  it  from  its  stem.  As  she  does  so  the  sound 
of  galloping  horses  is  heard.  Apprehension  s&zes  her. 

[18] 


THE    MASQUE    OF    PROSERPINE 


She  looks  about  in  alarm.  Seeing  that  her  companions  have 
departed,  she  is  overcome  by  fear  and  starts  to  run.  A  red 
chariot  nou*  appears  driven  by  a  charioteer  of  sinister  mien 
and  drawn  by  black  horses  at  full  speed.  In  the  chariot 
stands  PLUTO.  He  wears  a  black  tunic  and  over  this  a 
scarlet  mantle.  On  his  head  is  a  golden  crowii.  Upon  the 
appearance  of  PLUTO,  the  Seeds  scamper  away  in  confusion 
and  disappear  as  if  swallowed  up  by  the  earth.  The  chariot 
of  the  god  overtakes  PROSERPINE  just  as  her  strength  fails 
her  and  she\  falls  to  the  ground,  dropping  as  she  does  so 
her  g  oil  den  girdle.  The  charioteer  draws  rein,  PLUTO  steps 
from  the  car,  picks  PROSERPINE  up  in  his  arms,  mounts 
the  chariot  with  her,  the  charioteer  lashes  his  steeds,  and  the 
chariot  dashes  away  and  disappears. 

MERCURY 

Ho,  ho!     Poor  Prossy's  pinched  by  Pluto! 
My  word!  but  isn't  he  the  brute-o! 
Won't  Ceres  tear  her  hair!     I  say! 
This  is  a  lively  month  of  May! 
She — sh! — there  she  comes,  mad   through 

and   through, 
Now  let  us  see  what  she  will  do. 

As  MERCURY  speaks  CERES  is  seen  to  enter.  She 
wears  a  dark  blue  mantle  over  a  corn-colored  robe  with  a 
border  design  in  green.  She  comes  forward  rapidly  dis- 
playing agitation.  Pausing  finally  she  wrings  her  hands 
in  despair. 

CERES 

O   Proserpine!. ...What  meant  that  anguished  cry 
That,  borne  upon  the  wings  of  Auster,  pierced 
My  mother  heart,  and  brought  me  swiftly  here? 
What  meant  that  hurtling  chariot  which,  like 
An  eagle  holding  in  its  dreadful  claws 
A  dove,  flew  straight  toward  Tartarus?  Great  Jove, 
With  lightnings  hurled  from  high  Olympus,  stay 
The  course  of  him  who  stole  my  child  away! 

Here    her    girdle    lies.     O    Proserpine, 

My  little  one,  come  back  into  these  aching  arms! 

[19] 


A   PAGEANT  OF   MAY 


Too  late.     Cimmerian   darkness   folds  her  now, 

As  woe  enfolds  my  heart But  know,  O  Pluto, 

Ceres,  in  her  godly  wrath,  can  be 
As  terrible  as  thou!     Heed,   then!    Until 
The  blackened  gates  of  Dis  shall  be  unbarred, 
And   Proserpine,   with   flowers  springing  neath 
Her  dancing  feet,  shall  bring  abundance  to 
The  world  once  more,  this  dreadful  curse  upon 
The  earth  I  lay.     List,  then,  O  gods,  to  Ceres! 

(Note. — For5  the  curse  of  Ceres  a  poetry  competion,  open  to 
all  the  residents  of  Walla  Walla  Valley,  was  instituted.  The 
judges,  Mr.  W.  M,  Kern,  City  Superintendent  of  Schools;  Professor 
Ralph  Boas  of  the  English  Department,  Whitman  College;  Miss 
Elizabeth  Burroughs  of  the  English  Department,  Walla  Walla 
High  School;  and  the  master  of  the  pageant,  by  a  unanimous 
vote  selected  the  following  lines  by  Miss  S.  Elizabeth  Sloanaker.) 

0  thankless  Earth,  recipient  of  my  care! 
Ungrateful  soil,  thus  to  requite  my  love! 
You,  whom  I  have  so  generously  endowed 
With   great   fertility,   with   herbage   clothed, 
No  more  shall  you  my  favors  sweet  receive. 
Yea,  since  you  have  permitted  Pluto  thus 
To,  carry  to  his   darksome  underworld 
The   fairest   flower   of   all,    Proserpina, 

1  curse  you  with  sterility,  with  drought, 
With   famine,  with   foul  pestilence   and   death ! 
Turn   sear   and   brown,   ye   grains   and    grasses   all! 
Wither,  ye  olive  orchards  and  ye  vines! 

Fade,  all  ye  flowers,  and  where  once  you  grew, 
Let  brambles  rank  and  thistles  now  abound! 
And,  when   again   this  soil   man   shall   upturn, 
His  plow  shall  break  when  through  the  furrow  forced, 
The  birds  shall  steal  his  seed,  the  sun  burn  dry 
The  few  poor  struggling  blades,  and  later  still 
Shall   come   the   devastating,   greedy  flood. 
So  shall  you  feel  my  vengeance  and  repent. 

As  she  ceases  speaking  CERES  covers  her  head  with  her 
great  blue  mantle  and  sinking  to  the  ground  weeps  silently. 
Now  in  the  distance  the  glorious  train  of  the  gods  is  seen 
approaching.  At  the  head,  in  a  golden  chariot  drawn  by 
white  horses,  are  JUPITER  and  JUNO.  JUPITER,  robed  in 
white  and  gold  and  purple,  carries  in  one  hand  a  thunder- 
bolt. A  wreath  of  olive  surrounds  his  golden  crown. 

[20] 


THE    MASQUE    OF   PROSERPINE 


JUNO  is  clad  in  yellow,  with  a  peacock-colored  mantle  held 
with  a  golden  clasp  on  the  shoulder  and  drawn  across  her 
figure.  She  wears  a  golden  fillet  in  her  hair.  After  the 
chariot  of  JUPITER  come  the  other  gods.  MINERVA,  bronze- 
hehneted,  blue  mantled,  the  aegis  on  her  breast,  a  spear  in 
her  hand.  APOLLO,  crowned  with  gleaming  rays;  a  golden 
chlamys]  falls  from  his  shoulders;  he  carries  in  his  hand  a 
golden  bow.  DIANA  walks  free-limbed  in  dark  green. 
She  too  carries  a  bow.  A  crescent  moon  shines  on  her 
brow.  MARS,  in  breastplate  and  helmet,  wears  a  cloak 
and  carries  a  great  spear.  NEPTUNE'S  mantle  is  of  the 
color  of  the  sea.  He  wears  a  silver  crown  and  carries 
a  trident.  VULCAN,  who  wears  a  browm.  tunic  and  a  con- 
ical cap  of  the  fame  color,  bears  on  his  shoulder  a  heavy 
hammer.  VENUS  is  clad  in  robes  of  pale  rose-color.  In 
her  hair  are  roses  and  myrtle.  CUPID  runs  by  her  fide 
with  hi*  golden  bow  and  quiver  filled  with  golden  darts. 
After  these  come  the  lesser  gods  and  goddesses  and  also  the 
companions  of  PROSERPINE.  •  The  procession  approaches  un- 
til it  reaches  the  dais.  JUPITER  and  JUNO  descend  from 
their  chariot  ana\  the  latter  takes  her  place  on  one  of  the 
thrones.  JUPITER  remains  standing  by  her  side.  The 
other  gods  and  goddesses  and  the  companions  of  PROSER- 
PINE take  positions  on  either  side  of  the  dais. 

JUPITER 

At  my  command  a  council  of  the  gods 
Within  this  Vale  of  Enna  has  been  called. 
Our  sister,  Ceres,  of  her  child  bereft 
By  crafty  Pluto,  has,  in  wrath  and  grief, 
Ordained   this   day   that,   until    Proserpine 
Is  to  her  arms  returned,  in  all  the  world 
No  seed  shall  spring,  no  leaf  or  flower  unfold. 
See,  yonder  where  she  sits  in  grief  bowed  low. 
Come  hither,  sister,  yield  you  not  to  tears. 
Will  you  not  trust  my  power  and  my  love? 

CERES  rises  slowly  and,  approaching  the  dais,  stands 
proudly  before  the  assembled  gods. 

JUPITER 

Despair  not,   Ceres.     Pluto  knows  full  well 
That  Jove  is  mightier  than  he.     To  his 

[21] 


A   PAGEANT   OF   MAY 


Dark  realm  will  I  despatch  without  delay 
Fleet  Mercury,  who  this  command  shall  bear: 
Proserpina   must   be    returned   or   I, 
With  fiery  bolt  shall  cleave  the  crust  of  earth, 
Dry   up   the   floods  of   Styx  and  Acheron, 
And   spread   unto  Ap/folo's  gleaming  rays 
The  barren  meads  of  Erebus.     What  ho! 
Ho,  Mercury!  Be  swift  when  Jove  commands! 

MERCURY 

The  boss  is  in  an  awful  temper 
'T  is  ever  thus.     Yes,  sic  est  semper. 
I  must  be  off.     Good-bye,  dear  mater. 
Excuse  me,  miss,  I'll  see  you  later. 

(He  runs  to   the  dais.) 

JUPITER 


This  mandate  bear  to  Pluto.     Say 
It   is   my  will    that   Proserpine    returns. 

MERCURY  darts  off  in  the  direction  taken  by  PLUTO 
and  disappears.  The  companions  of  PROSERPINE  follow 
and,  forming  in  a  group  near  the  place  where  he  vanished, 
sing  the  following  Hymn  of  Joy  : 

With  tender  buds  and  grasses  green,  * 
And  hills  and  vales  in  splendor  seen, 
The  grateful  signs  of  Springtime  come, 
And    Proserpine   with   all  her   train 
Returneth  to  the  world  again, 
Exultant,  exultant  to  her  home. 

Welcome,  welcome,  husbandman's  deliverer! 
Welcome,  welcome,  crowner  of  his  industry  ! 
Unto   you   let   all   now   render   praise, 
Praise  for  gracious  ministry! 

With  tender  buds,  etc. 

Hail!   Hail!   Hail!   Hail!   Proserpine! 

Hail!    Hail!    Proserpine! 

Hail!  Hail!  Hail!  Proserpine!  Hail!  Hail! 

!  [22] 


THE    MASQUE    OF    PROSERPINE 


As  the  hymn  ends  the  ranks  of  the  companions  of 
PROSERPINE  divide,  and  MERCURY  runs  in  followed  by  the 
chariot  of  PLUTO  in  which  are  PLUTO  and  PROSERPINE. 
As  the  chariot  proceeds  towurd  the  dais,  the  companions  of 
PROSERPINE  dance  after  it  throwing  flowers  at  its  occupants. 
When  the  car  reaches  the  dais  PROSERPINE  descend?,  runs 
to  CERES  and  embraces  her. 

(Proserpine  sings  again  the  Shelley  song,  her  compan- 
ions repeating  each  of  the  tw^o  stanzas  in  chorus.) 

When  the  song  ends  PLUTO  who  has  remained  in  his 
chariot  raised  his  hand  and  speaks. 

PLUTO 

Now  hear  me,  gods!     The  wish  of  mighty  Jove 

I  have  obeyed.     But  I,  too,  am  a  god, 

And  godly  powers  are  mine.     Know  then  that,  ere 

Proserpina,  my  queen,  came  forth  from  those 

Black  halls  of  gloom  where  Death  and  I  abide, 

Four  seeds  of  pomgranate   she  was  lured 

To  eat.     For  each  of  these,  one  month — four  months 

In  all — must  she,  each  year,  my  consort  be, 

And  reign  among  the  shades  of  Tartarus. 

JUPITER 

Ceres,  you  have  heard.     Proserpine 

Is  to  your  arms  returned.     But  Pluto's  queen 

Is  she Nay  't  is  my  will.     Mark  you !  Each  year, 

When   earth's  great  golden   robe   of   grain 

Is  shed,  as  one,  preparing  him  for  rest, 

Lays  by  a  garment,  then   shall   Proserpine 

Descend  and  take  her  place  upon   a  throne 

By  Pluto's  side.     But  when   the  myriad   seeds 

Begin   to  waken   from   their   winter's   sleep, 

And  stir  with   Springtime's  promise,  then  shall   she 

Forth  issue  from  the  gloomy  vales  of  Dis 

To  bless  you  with  her  love.     Therefore  I  do 

Command  you  now — remove  the  curse,  and  cause 

The  earth  to  smile  with  verdure  once  again! 

All  now  gather  round  the  dais,  leaving  CERES  stand- 
ing alone  near  the  rim  of  the  lake.  Extending  her  arms 
she  invoked  the  growing  things  of  earth  to  return. 

[23] 


A   PAGEANT  OF  MAY 


CERES 

Buds  and  grasses,  flower  and  vine, 

Violet,   daisy,   columbine, 

Greet  your  mistress,   Proserpine! 

Wheat  and  barley,  oats  and  corn, 
Clothe   again    a   world    forlorn! 
Be  ye  in  this  hour  reborn! 

Apple,  cherry,  peach  and  plum, 
Hear  the  honey-bees  that  hum. 
Ceres  calls  you.  Come,  oh  come! 

(VxfcjO    &  *>*-^+\^ 

Come,  for  joy  must  reign  today! 
Come,  for  all  the  world  is  gay! 
Come,  for  this  "glorious  May ! 


As  CERES  begins  speaking  green  leaf-buds  are  seen 
slowdy  to  emerge  from  the  ground.  Then,  as  she  con- 
tinues, tiny  leaf-clad  figured,  appear  as  if  issuing  from  the 
earth  and,  running  forward,  dance  merrily  on  the  green. 
As  the  dance  progresses,  the  leafy  garments  fall  away,  re- 
vealing the  dancers  as  flowers,  fruits,  and  grain. 

THE  DANCE  OF  THE  FRUITS  AND  FLOWERS 

At  the  end  of  the  dance  JUPITER  and  JUNO  descend 
from  the  dais  and  enter  their  chariot.  Led  by  CERES  and 
PROSERPINE  and  PROSERPINE'S  companions,  the  gods  of 
Olympus  proceed  around  the  Green  in  a  many-colored 
pageant,  passing  in  their  progress  the  place  where  the 
QUEEN  OF  THE  MAY  sits  by  MAIA'S  side,  gazing  with 
wondering  eyes  at  the  spectacle.  When  the  procession  has 
almost  passed,  MERCURY  runs  forward  and,  stealing  up 
behind  the  QUEEN  OF  THE  MAY,  waves  his  caduceus  over 
her.  She,  thereupon,  falls  asleep.  The  last  of  the  divini- 
ties to  pass  is  VENUS,  leading  CUPID  by  the  hand.  As 
they  approach  the  place  where  the  QUEEN)  OF  THE  MAY 
lies  asleep,  CUPID  pulls  his  hand  aavay  from  his  mother  s, 
runs  forward  and,  dropping  on  one  knee,  lets  fly  a  golden 
arrow  at  the  sleeping  girl.  He  then  scampers  off,  laughing, 
after  VENUS. 

[24] 


THE    MASQUE    OF    PROSERPINE 


MERCURY 

Ho,  ho!  Good  shot!     She's  done  for  now. 
I  wonder  who'll  make  her  his  frau? 
Come,  mother,  let's  go  where  it's  cosier, 
I'm   dying  for  some  fried  ambrosia. 

(Addressing   the   spectators) 

Good  people,  old  as  well  as  young, 
Our  story's  told,  our  song  is  sung. 
For  your  endurance  take  our  thanks, 
And  come  again  to  see  our  pranks. 
This  maiden  here,   by  Cupid  shot, 
Is  much  in  love,  but  knows  it  not. 
When  she  wakes  up  you'll  see  what  haps, 
And  who's   the   luckiest   of   chaps. 
And  now,  with  thanks  too  great  to  tell, 
Remember  Mercury.     Farewell! 

MERCURY  runs  swiftly  after  the  retreating  gods  whom 
MAIA  has  already  joined.  The  procession  passes  over  the 
causeway  and  finally  disappears  in  the  distance,  leaving 
the  Green  empty  except  for  the  QUEEN  OF  THE  MAY  who 
remains  asleep  beside  the  grassy  mound. 

END  OF  PART  I. 


INTERLUDE 


[25] 


PART  II 

THE  REVELS  OF  MAY 

Sounds  of  shouts  and  laughter  are  heard  and  on  the 
farther  side  of  the  lake  a  company  of  young  village  folk 
in  gala  attire  is  seen  approaching.  They  carry  greens  and 
flowers.  When  they  reach  the  Green  some  of  them  form  a 
circle  and  dance  around  a  youth  more  richly  dressed  than  the 
others.  All  except  the  youth — who  is  the  LORD  OF  THE 
MAY — then  go  to  the  dais  and  begin  to  deck  it  with  greens 
and  flowers.  The  LORD  OF  THE  MAY  now  comes  forward 
and,  seeing  the  sleeping  maiden,  runs  toward  her  and  shakes 
her  sharply  but  not  roughly.  The  QUEEN  OF  THE  MAY 
tcvtkes. 

LORD  OF  THE  MAY 

So  here  you  are.  We've  hunted  everywhere  and  could 
not  find  you.  We  thought  that  you'd  been  stolen. 

QUEEN   OF   THE   MAY 

What,  stolen?  I?  Qh,  no,  'twas  Proserpine  was 
stolen.  But  Jupiter  made  Pluto  bring  her  back,  and  Ceres 
made  the  flowers  dance  for  joy.  (Looking  at  flower  she 
holds  in  her  hand)  But  were's  Maia?  And  where  is  Mer- 
cury? 

LORD  OF  THE  MAY 

Maia?     Mercury?     You    must   have   lost   your   wits! 
QUEEN  OF  THE  MAY 

Why — why — they  were  right  here  just  now.  Maia 
gave  me  this  flower.  She  said  it  came  from  the  Elysian 
Fields. 

LORD  OF  THE  MAY 

It's  like  no  flower  I  know.  May  I  not  have  it  for  my 
hat? 

[27] 


A   PAGEANT   OF   MAY 


QUEEN  OF  THE  MAY 

No,  no.  Who  takes  this  flower — so  she  who  gave  it 
said — shall  be  my  husband. 

LORD  OF  THE  MAY 

Then  give  it  me  inverideed.  Not  for  my  hat,  but  for 
my  heart. 

QUEEN  OF  THE  MAY 

You  are  too  bold,  sir.  Come.  See,  all  the  boys  and 
girls  have  gone  to  greet  the  mayor.  We  must  be  ready. 
Come. 

The  young  people,  having  finished  decorating  the  dais, 
run  to  the  farther  side  of  the  Green,  beyond  the  lake.  The 
QUEEN  and  the  LORD  OF  THE  MAY  take  their  positions 
in  front  of  the  dais. 

Now  in  the  midst  of  the  villagers1,  on  the  far  side  of 
the  Green,  the  HERALD,  in  red  and  yellow  and  wearing  a 
fwbbard,  appears  and  blows  a  blast  on  his  trumpet.  From 
the  same  place  the  MAYOR  and  his  escort  enter.  Led  by  the 
HERALD  and  followed  by  the  villagers,  singing  a  May-song 
without  accompaniment,  the  MAYOR  and  his  escort  proceed 
to  the  dais.  The  QUEEN  and  the  LORD  OF  THE  MAY 
take  their  places  on  the  throne  and  the  MAYOR  addresses 
the  assemblage. 

(Address  by  the  MAYOR). 

The  MAYOR  concludes  his  address  by  conferring  their 
titles  upon  the  QUEEN  and  the  LORD  OF  THE  MAY,  and 
crowns  the  queen  with  a  wreath  of  flowers. 

QUEEN  OF  THE  MAY 

My  people,  I,  Queen  of  May,  command  you  to  lay 
aside  all  care,  and  whosoever  hath  envy  or  malice  in  his 
heart,  I  bid  him  straightway  cast  it  out  that  in  his  heart 
good  will  and  fellowship  may  find  a  place.  It  is  my 
royal  will  that  on  this  day  you  should  be  happy,  for  this 
is  May,  the  happiest  month  in  all  the  year.  Be  gay,  there- 
fore, but  bear  in  mind  that  gaiety  is  oft  times  thoughtless. 
Unlike  true  joy  it  springs  not  from  the  inner  spirit.  It 
is  true  joy,  then,  I  wish  you  all  to  know — true  joy  and 
perfect  happiness. 

[28] 


THE  REVELS  OF  MAY 


LORD  OF  THE  MAY 

You  have  heard  your  gracious  queen.  She  has  put 
upon  you  her  command  to  be  joyful.  See  to  it  that  you 
obey  her.  Be  gay  and  rejoice!  rejoice  that  May  is  here, 
bringing  with  her,  in  springing  grass  and  blossoming  bough, 
the  promise  of  abundance!  Rejoice  and  make  merry,  ye 
tillers  of  the  soil,  for  Nature  has  given  her  pledge  to  re- 
ward your  labor!  Rejoice,  ye  people  of  the  town,  for 
as  the  husbandman  shall  prosper  so  shall  ye!  Rejoice,  then, 
one  and  all,  and  give  your  service  to  the  commonweal  that 
ye  may  dwell  in  peace  and  plenty.  Now  let  the  sports 
begin.  Sir  Herald,  a  blast  upon  your  trumpet  to  call  who 
will  to  join  us.  But,  first,  a  spng,  and  for  our  queen  a 
cheer. 

All  cheer,  led  by  the  LORD  OF  THE  MAY,  after  which 
the  villagers  sing,  "Give  to  Our  Ladye,  Our  Ladye  so  Fair" 
The  song  ended,  the  LORD  OF  THE  MAY  rises. 

LORD  OF  THE  MAY 
And  now  a  dance!     Let's  have  a  dance! 

The  villagers  run  to  the  center  of  the  Green  and  dance 
an  old-fashioned  quadrille.  One  among  them — an  old  man 
— calls  the  changes.  When  the  dance  is  ended  the  dancers 
withdraw  and  dispose  themselves  around  the  Green.  At  a 
sign  from  the  QUEEN  OF  THE  MAY  the  HJERALD  sounds  a 
blast  on  his  trumpet.  It  is  answered  by  a  horn  call  in  the 
distance. 

HERALD 

Hear  ye!  Hear  ye!  Hear  ye!  The  hunter's  horn  rings 
in  the  wood.  Comes  now,  brave  Robin  Hood  and  all 
his  merrie  men.  Give  way  for  Robin  Hood! 

A  march  is  piayed  and  a  company  of  men  in  green  ap- 
pears on  the  farther  side  of  the  lake.  They  carry  bows 
and  have  quivers  at  their  shoulders.  Some  of  them  carry 
bright-colored  targets.  Leading  them  are  ROBIN  HOOD, 
LITTLE  JOHN,  WILL  SCARLET,  MAID  MARIAN,  ALLEN-A- 
DALE,  and  FRIAR  TUCK.  LITTLE  JOHN  has  a  dog  at  leash 
and  FRIAR  TUCK  carries  a  small  pig  under  his  arm.  When 
the  company  reaches  the  Green  ROBIN  HOOD  and  his  prin- 
cipal companions  bow  before  the  QUEEN  OF  THE  MAY  who 

[29] 


A  PAGEANT  OF  MAY 


greets  them  standing.  The  archers  salute  by  raising  their 
bows  above  their  heads.  ROBIN  HOOD  steps  forward  and 
sings,  with  a  chorus  of  archers,  "The  Ballad  of  Robin 
Hood"  He  makes  a  sign  and  the  men  carrying  targets  run 
across  the  Green  and  place  them  in  position.  They  return 
to  their  places  and  a  contest  in  archery  takes  place.  ROBIN 
HOOD  takes  a  bow  from  one  of  his  men  and,  mounting  the 
dais,  proffers  it  to  the  LORD  OF  THE  MAY.  Together  they 
descend  to  the  Green  and  shoot  against  one  another.  The 
LORD  OE  THE  MAY  misses  the  target  and  his  discomfiture 
is  greeted  with  laughter.  ROBIN  HOOD  runs  to  the  throne 
of  the  QUEEN  OF  THE  MAY  and,  kneeling  before  her,  is 
crowned  the  victor.  At  this  point  FRIAR  TUCK'S  pig  gets 
away  from  him  and  he  pursues  it  around  the  Green,  lifting 
his  monk's  robe  to  his  knees  in  order  that  he  may  run  the 
faster. 

A  group  of  milkmaids,  carrying  pails,  now  enters. 
Running  to  the  center  of  the  Green  they  begin  to  dance  a 
round  dance.  They  are  interrupted,  however,  by  FRIAR 
TUCK  who  forces  his  way  through  the  circle  and  begins  to 
dance  an  improvised  jig.  The  milkmaids  regard  him  with 
amusement,  laughing  gayly  and  keeping  time  with  his  danc- 
ing by  clapping  their  hands.  The  QUEEN  and  the  LORD 
OF  THE  MAY  draw*  near  the  group  and  ROBIN  HOOD  and 
some  of  his  companions  do  likewise.  FRIAR  TUCK,  com- 
placently absorbed  in  his  occupation,  finally  waddles  for- 
ward out  of  the  circle.  ROBIN  HOOD  takes  the  QUEEN  OF 
THE  MAY  for  his  partner,  the  LORD  OF  THE  MAY  takes 
MAID  MARIAN,  the  other  members  of  ROBIN  HOOD'S  band 
each  take  a  milkmaid  and  all  join  in  dancing  the  Roger  dp 
Coverly.  FRIAR  TUCK  now  runs  up  and  takes  the  partner 
of  one  of  the  archers,  aiming  a  vigorous  kick  at  the  man  in 
green  as  he  drives  him  off.  During  the  dance  FRIAR  TUCK 
insists  upon  trying  to  kiss  his  partner  despite  her  remon- 
strances. She  finally  escapes,  but  he  pursues  her,  running 
in  and  out  among  the  other  dancers.  At  the  end  of  the 
dance,  the  QUEEN  and  the  LORD  OF  THE  MAY  return  to 
their  thrones.  The  milkmaids  and  ROBIN  HOOD  and  his 
men  sit  dowm  or  lie  on  the  grass  at  one  side  of  the  Green. 
At  a  sign  from  the  QUEEN  OF  THE  MAY  the  HERALD  steps 
forward  and  sounds  d  blast  on  his  trumpet. 

HERALD 

Hear  ye!    Hear  ye!    Hear  ye!    Come  now  the  men 

[30] 


THE  REVELS  OF  MAY 


of  sinew,  skilled   in   feats  of  strength.     Attention   for  the 
sports ! 

Several  groups  of  athletes  enter  and  contend  in  wrest- 
ling, tug-of-W'ar  and  other  athletic  exercises. 

At  a  sign  from  the  QUEEN  OF  THE  MAY  the  HERALD 
steps  forward  and  blows  a  blast  on  his  trumpet. 

HERALD 

Hear  ye!  Hear  )'e!  Hear  ye!  Come  now  the  May- 
poles! Make  ye  way!  Make  ye  way!  the  May-poles 
come! 

A  march  is  played  and  a  group  of  men  dressed  as  vil- 
lagers appears  on  the  farther  side  of  the  lake.  With  them 
is  a  horse  decked  with  greens  and  flowers  and  drawing  a 
long  pole.  The  bright-colored  decorations  for  the  top  of 
the  pole  are  seen  on  the  horse's  shoulders  and  attached  to 
these  are  long  streamers  of  many  colors  which  are  held 
like  reins  by  one  of  the  men  who  walks  behind.  A  second 
group  of  the  same  character  with  another  pole  follows  the 
first.  When  they  reach  the  Green  the  two  groups  taks 
Positions  at  the  right  and  left,  and  prepare  to  erect  the 
poles.  When  all  is  in  readiness,  the  HERALD  blows  a  blast 
on  his  trumpet,  and  each  group  vies  with  the  other  in  get- 
ting its  pole  in  position  in  the  shorter  time.  When  the  poles 
are  in  place,  the  HERALD  blows  another  blast,  the  QUEEN 
OF  THE  MAY  stands  up  and  wnth  a  gesture  summons  the 
victors.  They  approach  the  throne  and  on  the  neck  of 
each  the  QUEEN  OF  THE  MAY  places  a  garland.  Two  men 
— one  from  each  group — take  off  their  jackets,  the  decora- 
tions for  the  tops  of  the  poles  are  fastened  to  their  belts, 
and,  with  their  backs  to  one  another,  they  prepare  to  climb 
the  poles.  They  begin  when  the  HERALD  sounds  his  trum- 
pet. When  they  reach  the  tops  of  the  poles  they  put  the 
decorations  in  place Each  vies  with  the  other  in  accomp- 
lishing this  and)  reaching  the  ground  again  in  the  shorter 
time.  The  victor  is  summoned  to  the  throne  and  receives 
a  crown  from  the  QUEEN  OF  THE  MAY.  Two  dances  are 
now]  formed  around  the  May-pales,  and  all  the  people  on 
the  Green,  except  the  MAYOR  and  his  escort,  join  in  a 
general  dance,  which  becomes  livlier  and  livlier  as  it  pro- 
gresses*. Finally  the  QUEEN  and  the  LORD  OF  THE  MAY 
are  seen  to  emerge  from  the  rest,  dancing  together. 

[31] 


A  PAGEANT  OF  MAY 


THE  DANCE  OF  THE  LOVERS 

They  dance  forward,  and,  in  pantomine,  the  LORD  OF 
THE  MAY  makes  love  to  the  QUEEN.  She  hold  Maia's 
flower  tantalizingly  toward  him  and  he  tries  to  take  it  from 
her.  She  dances  away  from  him  and  he  pursues  her.  He 
falls  on  one  knee  and  holds  out  his  arms  toward  her.  This 
continues  until,  again  falling  on  one  knee  he  siezes  her 
hand.  She  turns]  away  from  him  for  a  moment  and  then 
impulsively  holds  the  flower  toward  him.  The  LORD  OF 
THE  MAY  siezes  it  and,  springing  to  his  feet,  turns  toward 
the  dancers  with  his  hands  held  high  above  his  head.  The 
music  ceases.  All  stop  dancing  and  turn  in  his  direction. 

LORD  OF  THE  MAY 

Good  friends!....  Good  friends,  give  heed!  With  this 
sweet  flower  of  May  your  queen  has  given  me  another, 
sweeter  still — the  flower  of  her  heart.  Come  with  us,  one 
and  all,  the  banns  must  published  be. 

QUEEN  OF  THE  MAY 

Maia,  goddess  of  the  May 
Gave  me  my  happiness  today. 
Believe  in  her  and  she  will  do, 
Fm  very  sure,  as  much  for  you. 

The  LORD  OF  THE  MAY  puts  his  arm  around  her 
waist,  kisses  her,  and,  together,  they  dance  away  followed 
by  alt  the  rest.  In  this  wise  they  circle  the  Green  and 
jonied  by  all  the  gods  and  goddesses  and  the  Seeds  and 
Flowers  who  appeared  to  the  QUEEN  OF  THE  MAY  in  her 
vision.  The  whole  company  finally  crosses  the  causeway 
and  stream  off  in  a  richly  colored  pageant. 


THE  END. 


[32] 


